Metrópolis - Mujeres del Silencio y Más Allá de los Géneros
08 mar 2017
En Babelia-El País por Ania Gonzalez, La realidad reversible, una visión de "Más allá de los géneros "
Nº4 da revista CANIBBAL (Identidad y provocación)
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Entrevista en la revista Luzes por Beti Vázquez
http://www.revistaluzes.com/artigos/numero-08/vazquez-beti/arte-da-accion-como-vida-e-acto-politico
«A arte da acción, como a vida, é un acto político»
Se fose unha fotografía, ficaría fóra dos marcos. Defínese coma performer e artista visual, mais a focaxe quédalle pequena. Ao igual que a súa arte, tamén ela é im-pertinente e in-esperada. Co corpo como lenzo, ao longo da súa dilatada traxectoria profesional Ana Gesto deseñou todo un universo simbólico de obxectos do cotián que adquiren multitude de significados ao intervir sobre eles. Até se tornaren arte.
Setembro 2014 Número #08
Amósolle unha fotografía tirada en 1980 na que aparece canda dúas irmás e a avoa nunha praia. Ana traballa con até 17 latas de refrescos.[Ri a gargalladas] Esta foi a miña primeira escultura! Sen dúbida... non?
É de destacar o esforzo que debeches facer para xuntar todo ese material... Si, si, si. Que tería eu aquí, dous anos? [ri] Cando atopei esta foto levei unha alegría enorme e pensei que a tiña que aproveitar. Fixen un vídeo ao redor dela, mais aínda non está exposto. A idea desas mesmas latas é a que apareceu despois nalgunhas das túas accións? Si, en tres delas: A idade, Catro veces a idade e Subindo 4,33. Desta volta non teñen á vista a marca do refresco. Están queimadas e levan pedras dentro. Son latas sonoras. No proceso d'A idade estaba a traballar hai tres anos, cando morreu meu pai. O día antes de falecer el foi cando gravei a vídeo-acción, que partiu da foto esta, da idea da idade, dos meus 33 anos... Eu facía anos o mesmo día que o meu pai. E non son nada relixiosa, mais daquela atopábame nun momento moi místico e o tema da morte andaba moi presente no meu imaxinario, polo que traballei directamente con eses conceptos, coa idea da idade, do paso do tempo, de facer reconto e comezar de novo. [...]
Setembro 2014 Número #08
É de destacar o esforzo que debeches facer para xuntar todo ese material... Si, si, si. Que tería eu aquí, dous anos? [ri] Cando atopei esta foto levei unha alegría enorme e pensei que a tiña que aproveitar. Fixen un vídeo ao redor dela, mais aínda non está exposto. A idea desas mesmas latas é a que apareceu despois nalgunhas das túas accións? Si, en tres delas: A idade, Catro veces a idade e Subindo 4,33. Desta volta non teñen á vista a marca do refresco. Están queimadas e levan pedras dentro. Son latas sonoras. No proceso d'A idade estaba a traballar hai tres anos, cando morreu meu pai. O día antes de falecer el foi cando gravei a vídeo-acción, que partiu da foto esta, da idea da idade, dos meus 33 anos... Eu facía anos o mesmo día que o meu pai. E non son nada relixiosa, mais daquela atopábame nun momento moi místico e o tema da morte andaba moi presente no meu imaxinario, polo que traballei directamente con eses conceptos, coa idea da idade, do paso do tempo, de facer reconto e comezar de novo. [...]
Crítica sobre a exposición "A VOLTA A UN PRATO" na Fundación Eugenio Granell por Chus Martinez Dominguez na revista TEMPOS Novos
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....L'ENTREVISTA AMB ANA GESTO POR ANA MAESO |
Nueve cazuelas esmaltadas; esas en las que hemos visto cocer tantos deseos, tantas
esperanzas compartidas. Donde se perpetúa a través de la repetición la historia de
una familia, la ligazón a la tierra. Aquellas que hace algún tiempo era también más
fácil ver colmadas de cemento y carbón que de cualquier vianda. Una chica menuda
las arrastra con fuerza, como bata de cola o viacrucis. Como en la fábula portuguesa
en que unos viajeros consiguen que todo un pueblo acompañe con sus propios
ingredientes convirtiendo una sopa de piedra en un plato que compartir, Ana recoge
nuestros recuerdos, referencias, relaciones, que van tomando ecos entre los diferentes
matices de los sonidos que nos ofrece.
Abrimos esta nueva sección con una entrevista a la artista compostelana Ana Gesto,
cuya obra danza entre el arte de acción, el vídeo y la escultura. Se forma como
performer con Bartolomé Ferrando en la Universidad Politécnica de Valencia. Tal y
como pudimos ver en la última edición de FEM Corpologia, a través del cuerpo y la
poética del objeto, sus obras reflejan un fuerte carácter identitario donde el proceso
se revela esencial y la experiencia estética se resuelve a través de la presencia, la
materialidad de los objetos de gran significado simbólico con los que interactúa y la
experimentación con los sonidos que estos producen.
Nº6 de la revista Corpología
http://kwartalnik.exit.art.pl/article.php?edition=46&id=755
new art in poland. Interactions
THE FESTIVAL IN PIOTRKÓW TRYBUNALSKI HAS BEEN ONE OF THESE.
Stanisław Piotr Gajda and Gordian Piec, the "Interactions" organizers, invited to
cooperate partner festival curators, among others: Antoine Pickels from Belgium,
Nieves Correa from Spain and Mara Vujovic from Slovenia. In total, 40 artists
from 14 countries have participated in the festival. The text accompanying this
year "Interactions" reads: "our foreign partners have pointed out the artists
who are most representative for their respective countries". In my opinion, their
choice has been quite doubtful. The festival performances varied in the quality
level, while its program lacked coherence. Some events, however, are worth
mentioning; the performance by Ana Gesto from Spain being one of these.
The artist, who has applied elements borrowed from her country tradition, managed
to develop a universal language platform, and guide the viewers intuition into
the area of the infinite cycle of life and death. Further, the performance by Justyna
Scheuring has been quite interesting. Her action contained several sequences
that formed a cohesive, carefully planned structure. The performance by this
artist can be distinguished with regard to its lack of tangible narration, and
abstract objects combination; by the same token, it offered possibilities for various
interpretations. The performance by Shannon Cochrane have followed the style
of full of humor spectacle. The artist presented some "tricks" then revealed the rules
behind them. Perfectly mastered artistic tools have been an added value of this
performance.
Museo de las Mujeres de Costa Rica
cuya obra danza entre el arte de acción, el vídeo y la escultura. Se forma como
performer con Bartolomé Ferrando en la Universidad Politécnica de Valencia. Tal y
como pudimos ver en la última edición de FEM Corpologia, a través del cuerpo y la
poética del objeto, sus obras reflejan un fuerte carácter identitario donde el proceso
se revela esencial y la experiencia estética se resuelve a través de la presencia, la
materialidad de los objetos de gran significado simbólico con los que interactúa y la
experimentación con los sonidos que estos producen.
Nº6 de la revista Corpología
EXIT new art in poland. Interactions
http://kwartalnik.exit.art.pl/article.php?edition=46&id=755
new art in poland. Interactions
"Focus on European Live
Art" has been the motto of this year edition of the
"Interactions"
The selection of topic has been related to the European project "A Space for Live Art".
At present the project covers 8 partners from all Europe who organize periodically
performance art festivals.
The selection of topic has been related to the European project "A Space for Live Art".
At present the project covers 8 partners from all Europe who organize periodically
performance art festivals.
Paulina Kempisty
Art historian. She works for the Labyrinth
Gallery in Lublin and runs the
Performance Art Foundation.
Performance Art Foundation.
Paulina Kempisty
Stanisław Piotr Gajda and Gordian Piec, the "Interactions" organizers, invited to
cooperate partner festival curators, among others: Antoine Pickels from Belgium,
Nieves Correa from Spain and Mara Vujovic from Slovenia. In total, 40 artists
from 14 countries have participated in the festival. The text accompanying this
year "Interactions" reads: "our foreign partners have pointed out the artists
who are most representative for their respective countries". In my opinion, their
choice has been quite doubtful. The festival performances varied in the quality
level, while its program lacked coherence. Some events, however, are worth
mentioning; the performance by Ana Gesto from Spain being one of these.
The artist, who has applied elements borrowed from her country tradition, managed
to develop a universal language platform, and guide the viewers intuition into
the area of the infinite cycle of life and death. Further, the performance by Justyna
Scheuring has been quite interesting. Her action contained several sequences
that formed a cohesive, carefully planned structure. The performance by this
artist can be distinguished with regard to its lack of tangible narration, and
abstract objects combination; by the same token, it offered possibilities for various
interpretations. The performance by Shannon Cochrane have followed the style
of full of humor spectacle. The artist presented some "tricks" then revealed the rules
behind them. Perfectly mastered artistic tools have been an added value of this
performance.
When I was leafing
through the program, I thought that it was an interesting idea to
present artists from Slovenia, Croatia and Serbia. Unfortunately, the performances
they showed left one hungry for more. The performance by Branko Miliskovic from
Serbia has been the only exception. The artist had full control over the audience, imposing
on them his rules of "the game". He pointed out individual persons from the audience
who were to rebound obediently the ball following the metronome rhythm.
present artists from Slovenia, Croatia and Serbia. Unfortunately, the performances
they showed left one hungry for more. The performance by Branko Miliskovic from
Serbia has been the only exception. The artist had full control over the audience, imposing
on them his rules of "the game". He pointed out individual persons from the audience
who were to rebound obediently the ball following the metronome rhythm.
The group of younger
generation artists, who took part in the "Off Interactions"
deserve special attention. Janusz Bałdyga has been the curator of this segment. Iza
Chamczyk has created a visually interesting situation. The artist was standing under
the painting canvas suspended on the ceiling, and tried to catch in her mouth the
dripping blue liquid. The performance was presented in the course of two consecutive
days. In this time the blue spot on the canvas was growing to form a live picture, while
the variable frequency of the falling drops determined the performance dynamics.
Several hours long performance by Karolina Kubik has been, on one hand, a reference
to senseless killing of animals, on the other - it told about extreme fear, pain, stress
and limits of endurance. In the first part the artist blocked the Gallery entrance with
dry branches brought from various places in Piotrków. Then for over an hour she was
gnawing out fur from the fox tail, thus ruining it completely. Pavlo Kovach and
Yurii Biley, the Ukrainian artists, offered interesting performances during the "Off".
deserve special attention. Janusz Bałdyga has been the curator of this segment. Iza
Chamczyk has created a visually interesting situation. The artist was standing under
the painting canvas suspended on the ceiling, and tried to catch in her mouth the
dripping blue liquid. The performance was presented in the course of two consecutive
days. In this time the blue spot on the canvas was growing to form a live picture, while
the variable frequency of the falling drops determined the performance dynamics.
Several hours long performance by Karolina Kubik has been, on one hand, a reference
to senseless killing of animals, on the other - it told about extreme fear, pain, stress
and limits of endurance. In the first part the artist blocked the Gallery entrance with
dry branches brought from various places in Piotrków. Then for over an hour she was
gnawing out fur from the fox tail, thus ruining it completely. Pavlo Kovach and
Yurii Biley, the Ukrainian artists, offered interesting performances during the "Off".
As usual, the Festival was
closed with the performance by Przemysław Kwiek
and the Europe Restaurant
Group. Within this action, Kwiek created his
own event "Perfidia
Perfearance III". He "inspired" in a spectacular way the
visitors
he had invited, then for the consecutive 20 minutes each of them could
have a say
by means of any form of artistic expression. A pleasant,
relaxed atmosphere was
prolonged onto the action by the Europe Restaurant Group
who were the last to perform.
The "Interactions" 4th International Art Festival, curators: Stanisław Piotr Gajda,
The "Interactions" 4th International Art Festival, curators: Stanisław Piotr Gajda,
Gordian
Piec, Piotrków Trybunalski, May 7th-11th 2012.
Corporeidades Femenistas en España
Museo de las Mujeres de Costa Rica
Inaguramos la muestra virtual Corporeidades Femenistas en España en el Museo de las Mujeres de Costa Rica,comisariada por Irene Ballester Buigues. En ella el cuerpo femenino se convierte en sujeto de poder, donde lo corpóreo se alza como protagonista de los trabajos, convertidos en territorios de resistencia frente a la objetualización patriarcal. Nuevos medios artísticos - fotografía, performance, video - para nuevas voces y narrativas cuyos códigos abiertos permitan nuevas significaciones. Para ello Marina Núñez, Miriam Vega, Myriam Negre, Ana Gesto, María Cañas y Diana Coca han abierto sus cuerpos y desgarrado su interior con la intención de que afloren al exterior sus necesidades más profundas, sus odios y sus miedos, en definitiva sus sentimientos y denuncias. El objetivo es escenificar aquello que no tiene nombre, reinventarnos a nosotras mismas para crear un nuevo sistema simbólico que permita subvertir las viejas dicotomías de género.
